Analysis Of Digging By Seamus Heaney

Heaney continues to do this by glorifying the frogspawn, using alliteration “jam pots of the jellied specks”. This creates a soft and gentle rhythm for the reader, portraying Heaney’s fascination with nature a child.

Two of the poems written by Seamus Heaney, “Digging” and “Blackberry Picking”, contain recurring themes while both discussing entirely different scenes. The first poem, “Digging”, talks about Heaney’s memories of hearing his father digging in the potato garden outside the house. The second poem, “Blackberry-Picking”, carries a similar solemn tone, while describing another memory of Heaney’s of his experience with picking blackberries. These poems by Heaney share similar themes of reflection of his past experiences in which he dissects important life lessons from everyday events such as the passage of time and the uncertainty of life.

A Comparison of Death of a Naturalist and Digging by Seamus Heaney The poems 'Death of a Naturalist' and 'Digging' have many similarities, and contrasts. Some of the reoccurring themes in the two poems include memories of childhood and changes in the life of the writer. There are contrasts too, in 'Death of a Naturalist'; the writer is concentrating on himself and his own experiences in life, rather than the experiences of others. In 'Digging', the opposite is true, as the writer concentrates mainly on the events in other people's lives, namely his father and grandfather.

The concept of the malign nature of the tenement is developed throughout the first stanza with Crichton Smith exploring his own role in his mother 's confinement. He tells the reader that whilst he drove away, his mother would 'wave from the window. ' Again the poet successfully employs alliterative words to draw our attention - this time to the image of his frail mother still lovingly 'waving ' from her prison 'window '. This notion is supported by Crichton Smith comparing himself to

When writing a collection of poems, most poets chose to focus on maintaining certain themes throughout their literature and Cornelius Eady is not an exception. Cornelius Eady’s collection of poems in Brutal Imagination focus on issues such as racism, family crisis, internal conflict, and death. The first part of the collection circles around a servant who works for Susan Smith and is the caretaker for her children. The story centers around the perspective of the servant who is also the overarching narrator. The story describes old version of United States when racism was still bluntly present and affected individuals identities and financial opportunities. Based off the information presented in the collection, the servant can possibly be male. The general plot follows deeply into the difficult life of the male servant through examining the issues he faces. The first poem within the collection set-ups the rest of the story with context for the readers giving them a few expectations about what they should look forward to reading further. Eady draws the reader through integrating an origin for the male servant and his connection to Susan Smith’s family.

Like a shovel to dirt as a pen to paper. In “Digging,” Seamus Heaney uses specific elements such as diction, and imagery to convey his meaning that children don’t always want to be like their past generations of men.

Family traditions/heritage is an aggregate of attitude, ideas, ideals and the environment, which a person inherits from his parents/ancestors. Individual identity entails aspect of one’s life that no one has control over, i.e., race, the color of skin, beliefs, etc. These family traditions and cultural legacies play a detrimental role in influencing one’s self-identity, which can be both negative and positive. A positive legacy consists of the trait that is inherited from consistent, diligent and thoughtful families. On the other hand, negative legacies are the ones that face opposition or rejection and are unwelcome in the family. Latter seem more prevalent in cases of adopting cultural shifts where an individual rejects legacies that were carried on for generations, and adopt a new way of life and be him/herself. Alice Walker’s “Everyday Use” and Seamus Heaney’s “Digging” have a common central theme that is to show us how an individual breaks their family traditions and embrace a new way of life, and the consequences faced after that turnout.

Work is one of the many personal commitments we have in life that fulfill our passion and needs. “Digging” and “Warren Pryor” are both related to work, and how having a certain occupation should be personally fulfilling. In these poems, the author portrays two different points of view. Underlying the true intention, both poems reveal the strong admiration both leads had upon their parents and what kind of work they had done. Both Seamus Heany’s “Digging” and Aiden Nowlan’s “Warren Pryor” suggest that when an individual has close relationships, they are often prone to influences, and as a result may choose their occupation accordingly.

In the poem ‘Digging’ the persona maintains a sense of belonging through the relationship he has with his family. “The old man could handle a spade, just like his old man.” The proud recognition of his family history is obvious through the

As the speaker casually calls their parents, a setting of calm expectations is established. While greeting the speaker, the mother’s decision to “run out and get” (1) the father highlights the lack of urgency that is present. The mother is calm and fetches the father in an expected and relaxed fashion, further establishing the calm expectations of the ongoing call. The mother additionally states that “the weather here’s so good” (2). Heaney’s use of the word “good” reflects the setting of the mother and father’s home; the atmosphere of where they live is pleasant and unperturbed. The “weather” serves as a projection of the father’s own state, implying that the father is in good health and that death is not yet looming over him. The last spoken words in the poem reveal that the father was conducting “a bit of weeding” (3). The word “weeding” highlights the capability of the

This poignant dichotomy is seen explicitly in two poems in Seamus Heaney’s Field Work. One poem, “The Strand at Lough Beg” is written for “Heaney’s cousin Colum McCartney (ambushed and shot in a sectarian killing)” and is rich with pastoral scenery, dark tones, and religious imagery (Vendler 60). Another poem, “A Postcard from North Antrim” is about “his friend the social worker Sean Armstrong (shot by a ‘pointblank teatime bullet’)” (Vendler 60). These two elegies, both with a strong presence of Heaney’s personal voice, are imbued with a sort of ambiguity as Heaney struggles with the death of two people who were both very close to him. In both poems, Heaney “tries to converse with and question the dead” in an attempt to rationalize, or at least display his sentiments on the untimely deaths (Parker 159). It is interesting to watch Heaney oscillate in imagery, tone and diction as he progresses through both poems. This wavering can be seen as a result of Heaney’s background.

Heaney uses onomatopoeia in the words ‘slap’ and ‘plop’ to create an image on the readers mind. This section also shows the punishment from offended nature for the boys arrogance – when he sees what nature is really like, he is terrified. This part of the poem is also very ambiguous – we see the horror of the plague of frogs, ‘obscene’ and gathered’ for ‘vengeance.’ – at least in the child’s mind.

conversation. It isn't like a poem at all. It says "By god the old man

is the idea of the bone as stone, with the mind as a catapult. This

The poet uses different techniques to bring the out the impacts of slavery on the affected individuals (the slaves). The “grave/slave(s)” rhymed couplet recurs at